Full text of "Designing, modeling, building a model automobile"

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DESicninG

ODELinC
BUILDinC

a model aulomobile

FISHER BODY CRAFTSMAN'S GUILD

An organization for the development of craftsmanship
and creative ability among boys.

• LEARNING TO DESIGN A CAR

really have the
build a model ca
in modeling clay-
tions on Page 6.)
to call forth you
experience, to Sc
hundred Guild av
"A" and '^B" (on
ments and other

From the collection of the

z ' in

oPreTmger

ibrary
p

Trace a fe
cars from

i to draw at all to

^hape your design

modehng instruc-

vards big enough

11 win — valuable

B of the several

•efuUy Drawings

ve you measure-

wing steps:

ind rear view
jning.

San Francisco, California
2008

W i w

d lights, wheels

This gives you the feel and
proportions of car "form."

Q\ Try a few side views next.
o) Do these free hand.

Grille design Other details

D ) "Perspectives" tell more.

Make your design over a car from
a catalog illustration.

MGHT 1953. GENERAL MOTORS CORPORATION

©You should strive for a
light, graceful upper
structure in your design.

Poor proportion Good proportion

"Crisp" design
of section
through cor will
result in longer
highlights and
better stream-
lining . See
drawing below.

Too "round."
Highlights will
be soft and
short. Design
will be more
difficult to
streamline.

Plan view of your
design is important.

"Fast"

"Slow, boxy

Pinched (poor)

:2^^^^

Good "space design'

Side view of upper structure
proportions

Pleasing

Too h

tlT

Too square

□/ \.

Outline of car

•LEARNING TO DESIGN A CAR

Don't let the word "design" scare you. Any one can learn to
draw, if he is willing to practice — and designing is nothing more than
drawing with a purpose. The fact that you never learned to draw doesn't
mean you carCt. The sketches on this and the three following pages give
you the practice steps for drawing an automobile. Work at them for an
hour or two every day for a week. You'll be surprised how much skill
you gain in that short time. Keep on for two or three weeks, and you'll
really have the "feel" of it. Of course, you donh need to draw at all to
build a model car for the Guild competition. You can shape your design
in modeling clay — and that's a lot of fun. (See the clay modeUng instruc-
tions on Page 6.) The Guild competition offers you rewards big enough
to call forth your very best effort. If you work, you'll win — valuable
experience, to say the least — and, very possibly, one of the several
hundred Guild awards. So, now, let's go! First, study carefully Drawings
"A" and "B" (on the sheet inserted in this book). They give you measure-
ments and other requirements. Then practice the following steps:

Trace a few present-day
cars from a magazine.

This gives you the feel and
proportions of car "form."

Try a few side views next.
Do these free hand.

^ \ Direct front and rear view
designing.

Block in Add lights, wheels

Grille design Other details

\j) "Perspectives" tell more.

Make your design over a car from
a catalog illustration.

rnPYRIGHT 1953. GENERAL MOTORS t

©You should strive for a
light, graceful upper
structure in your design.

Good

Poor proportion Good proportion

"Crisp" design
of section
through car will
result in longer
highlights and
better stream-
lining. See
drawing below.

Too "round."
Highlights will
be soft and
short. Design
will be more
difficult to
streamline.

Plan view of your
design is important.

"Slow, boxy'

/P-

/TN ^ Pinched (poor)

Good "space design'

Side view of upper structure

proportions

Pleasing

Too hi

tir

Too square

o — V.

Outline of car

® Front-end composition

or design

Work out design in "perspective'
as well as head-on view.

Front-end
theme "doodling"

/■» «\ Fender and tail-light

theme "doodling"

Cones and
bullet shapes
in perspective

Study windshields

®Line, form and texture suggest
speed and graceful motion.

Qj Various types of ornamentation

Windsplits

Windsplits
in groups

Use Drawing "A" (inserted as
a loose sheet in this book) to
develop side view of your car.

After careful study and "design
thinking," you can work over
Drawing "A," using a clean sheet
of tracing paper on which to draw
your design. Try many, keeping
in mind the "hints" given you.

Use Drawing "B" (on other side
of insert sheet) to develop
plan view of your cor.

fracing
paper

Plan view needs special study
and attention to give design
speed and beauty. Remember,
this is highly important.

• HOW TO MAKE A CLAY MODEL

Be sure to make a clay model, as professional car designers do.
You can change it easily as you get new ideas — and you will NEED it
as a pattern, if you cast your model in plaster, or, for a wood model, to make
templates as explained farther on. To buy modeling clay, write the Guild
Technical Supervisor for a supplier's address. You can make your own
clay by mixing: Powdered clay or whiting, 55 oz. — Cup grease, 28 oz. —
Paraffin wax, 13 oz. — Rosin dissolved in turpentine, 1 oz. Melt together
cup grease, paraffin wax and rosin solution. Then sift and mix in pow-
dered clay. To save clay, make a wood form (armature), as shown in
Photo 1, below. Attach a bottom board, as shown, to support clay on
sides. Make this board at least 1 in. narrower and 1 in, shorter than
model. Notch it so you can insert cardboard wheels, giving the "feel"
of a real car. Armature is mounted on surface board (Photo 2). Dowels
or headless nails, centered within guide strips around edges of surface
board, slip into holes drilled in bottom of armature to position it while
making clay model. This will permit insertion of a loose ^-in. block
underneath armature to hold model at proper height for checking over-
all appearance with cardboard wheels. Photo 2 shows block in place.

1. Drill holes in armature to anchor clay.
Six pounds of clay ivill do. Solid clay
model requires 20 pounds.

2. Guide strips are straight and should
clear model Yl '"• f^H around. Draw station
lines on board 1 in. apart, as shoiin.

3. Armature on surface hoard. Guide strips
are used in making templates {patterns),
explained in photos that follow.

4. Soften clav so it ivill he easv to '"work
by keeping it in hot water in a double boiler
— or sieve and warming pan. as shown.

5. Press clavJirmlY into holes. Rough shape
clay by hand. I sing your drawings — or
your imagination — shape and carve one side
{exactly }/^ of model) to desired design.

6. Make modeling tools shoiin in photos.
Above, a hack satv blade used as rough simper.
Photo 14 shous smoother made of scrap
rubber; Photo 15, a tool of hardwood.

7. Much of the finish smoothing and shap-
ing can be done best with your palm and
fingers. Dip hands in tvater, regularly, for
best results.

9. Notch out bottom edge of rough template
to fit against outer edge of guide strip iihen
template is sunk slightly into clay — in a
perpendicular (_L) position.

8. W'hen one side of model is finished, make
cardboard templates (patterns) of this side —
one at each station line on surface board.
Cut cardboard roughly to shape first.

10. Trace exact outline of model on tem-
plate. Be sure bottom edge of template rests
evenly on surface hoard — and is notched to
fit snugly against guide strip.

1 1 . Now, cut out template along your pencil
line with scissors or sharp, pointed carving
blade. This makes an accurate pattern of
one half of model at a given station line.

12. With templates, you can make un-
finished side of model match finished half.
At proper station line, rest each template on
surface board. Sink template into clay.

13. Using screwdriver as a carving tool,
carefully remove clay between sunken verti-
cal lines made by edges of templates. Smooth
surface to exact level of template cuts.

14. Rubber smoothing tool {made from old
tire) is excellent for smoothing large, sweep-
ing areas of clay model. Wet surface of
clay slightly for best results.

15. For window outlines and other sharply
defined details, a spear-shaped tool with
rounded point is most effective. Finish all
details of clay model as neatly as possible.

16. This illustration shows how you can
place cardboard wheels in position as you
develop vour clav model — to give it a real
car look. Model rests on ^ in. block.

• HOW TO MAKE A WOOD MODEL

You do not need a solid block of wood to make a model car for
the Guild competition. You can make your own block of the size required
using the measurements given on Drawing "A." To do this simply glue
together ^-in., or thicker, boards. Make sure the surfaces are smooth
and the grain runs in the same direction before gluing. You don't even
need C-clamps. You can use rocks or heavy pieces of metal to hold
the boards tightly together while the glue is setting. The types of wood
that can be cut and carved most easily are: Balsa, white pine, cypress,
basswood, poplar or mahogany. Before you start the rough cutting,
square your wood block — that is, make sure the ends and sides all meet
at right angles— hke this: P- You can do the necessary cutting and
carving with only a few tools that are easy to buy or borrow: A saw,
wood file, chisel, large and small gouges (curved chisels), a hammer, or
mallet, and sandpaper. That's about all you need— then, follow the
steps shown in the pictures below:

1. Sand hoards smooth and glue together.
Use casein-hase, cold glue, sold at most
harduare stores. Make block 6 .x 6^ x 17 in.

2. From your drawings — or clay model —
draw and cut out of cardboard an accurate
side view pattern of your model.

3. Trace this pattern on both sides of your 4. L sing a common saw. remove the large
wood block. Also rule ofj ivaste areas of waste pieces, front and rear, by cutting
block, as shown. along your ruled pencil lines.

^F ^---r-c^Cx

^^fc^^ M «

^r^— ^"^"^ \ \ \

^■-"''^^^^HI^.Jb S

f r' V

5. Starting at the bottom of block, rule verti-
cal (_L) station lines, exactly one inch
apart, join these across top and bottom —
also draw centerline around block.

6. Saw top of block down almost to the
side-view outlines of your model as traced
on block. Make saw-cuts follow station
lines drawn across top of the block.

7. Now, ivith a chisel, carefully shave away
wood between saw-cuts. Work chisel across
the ivood grain. Be careful not to cut below
model outlines drawn on block.

8. Smooth rough-shaped block with plane
to get rounded areas worked down toward
actual lines of car. Fine work can he done
with spokeshave and wood file.

9. Using chisel, gouges, wood file and small
knife, ivork oiit roughly the major shapes
along the sides of wood block, guided by
your clav model.

10. Mount wood model on surface hoard,
using it as a guide in restoring station lines
and centerline. Rub black crayon on pat-
tern edges of clay-model templates.

1 1. I'lit cntyoncd Icmplalcs in proper posi-
tion and riih firmly afioinst model to make
crayon mark at lii^h spots. llifi)i spots must
he trimmed donn along all lines on both sides.

12. Use small fiouiir to level high spots, as
shotvn. Repeat marking and gouging until
template fits exactly, top of template at cen-
terline, bottom notched against guide strip.

13. W hen all station lines have been gouged
out, so that all templates fit exactly, the
bottoms of gouge cuts will all be in line with
the exact surface of your finished model car.

14. Using chisel, carefully remove surplus
wood from bettveen gouge lines. This work
must be done carefully and neatly to dress
wood down to a smooth surface.

15. Put the finishing touches on the surface 16. Mark windoiv outlines on model, using

of your tcood model by using a fine file, patterns made from drawings or clay model

tchere necessary, and carefitlly smoothing — then carve out ivood. Similar patterns

the entire surface icith sandpaper. should be made for all surface detail work.

•CASTING A MODEL CAR IN PLASTER

In the design studios of the automobile industry, new designs
are worked into plaster models. The following instructions are adapted
from the methods used by professional automobile model makers.

In casting your model car in plaster, there are just two major steps:
(1) Making a 5-piece plaster mold, using your clay model as a
pattern — and (2) Pouring wet plaster into this mold to form an exact
duplicate of your clay model.

The only material you will need is about 25 pounds of ordinary
molding plaster — which you can buy from almost any builders' supply
company. Mix this plaster in water until it is as thick and smooth
as heavy cream.

To make the mold, place your clay model on a flat board which has
been painted with several coats of shellac (Fig. 1). To prevent the plaster
from sticking, coat the board with grease or soap jell.

Here is how you form the mold pieces: Make dams out of flattened
rolls of clay and set them up on your clay model to enclose only a sec-
tion of your clay model. (Fig. 1 shows about the size you should make
the front and rear end pieces of the mold. Fig. 2 shows the clay dams
in place for making the side sections of the mold. Fig 3 shows the dam

arrangement for making
the top section.) Make
only one mold section
at a time.

After you have set up
the clay dams, in each
case, use a flat wood
paddle to apply wet
plaster within the dams
and build it up to a
thickness of at least ^
in. Let the plaster set
before applying the clay
dams to make the mold
section next to it. Then,
coat the edges of the
mold sections with
shellac and grease (or
soap jell) to prevent the
1^ adjoining section from
sticking.

Be sure to overlap the

mold sections as shown in the ilhistrations — so thai, when you have
made all five sections, they will fit together as shown in Fig. 4.

Permit all mold sections to dry for at least one-half hour after they
have set. Then carefully remove the sections from your clay model —
and put them together as shown in Fig. 4. Hind them all together by
applying strips of cheesecloth soaked in thin plaster at the corners where
the mold sections meet. (These binders are shown as dark areas in Fig.
4.) Be sure to wet the mold sections thoroughly before attaching the
binders — since they will not stick tightly to dry plaster. YOU NOW
HAVE AN EXACT MOLD OF YOUR CLAY MODEL.

Next, clean and sandpaper the inside of the mold — and fill all pits or
holes with clay or plaster. Then apply coats of shellac and grease (or
soap jell) to the inside surface of your mold — AND YOU ARE
READY TO POUR THE CASTING OF YOUR MODEL.

Fill the mold one-third to one-half full of wet plaster mix. Lift the
mold and tip it from end to end and side to side — so that the wet mix
will flow all around the mold. Do this until the mix begins to stick to
all parts of the mold. Set the mold down and apply plaster with the back
of your hand — until you have built the casting up to at least ^-in.
thickness at all points.

Place strips of cheese-
cloth (already cut to
fit) against the wet
plaster of the casting —
then rub wet plaster
mix into the cheesecloth.
The cheesecloth is used
to strengthen your
plaster casting.

Permit the plaster
casting to dry for at
least a half hour — and
then carefully remove
the mold pieces. Dry out
your casting thoroughly
— by placing it for three
or four days in a dry,
well-ventilated room —
before you attempt to
paint it. Sand the cast-
ing thoroughly before
you start.

• ATTACHING WHEELS

Metal or wood plate

Fig. 1 — On model cars
made of plaster, the
wheels can be attached
to a wood or steel plate.
The plate is then set
into the bottom of the
model, as shown at the
left, and secured in place
with screws. If your
model car has exposed
wheels, set the plate in
far enough so that it
does not show from the
sides. Measure wheel
and cut to meet require-
ments of your design.

Fig. 2 — On model cars
made of wood, wheels
can be fastened to indi-
vidual plates, as shown
at the left. These are
then set into openings
cut into the bottom of
the model at the proper
locations.

FIG. 2

Mounting wheels
on wood model

WHEELS SUPPLIED FREE

Making a good set of wheels requires a wood lathe,
and most Guildsmen do not have access to a lathe. For this
reason, the Guild now supplies sets of wheels, free of
charge, to Guild members who can show that their model
cars are ready for wheels. These wheels are made of
hardened rubber and are provided with a recess for a hub
cap. Hub caps, however, are not supplied. You make your
own. These wheels may be cut in half for mounting on your
model, if your design permits. To get your wheels, mail to
Guild headquarters a snapshot which shows how much
work you have done on your model. If you use half wheels,
order two wheels. For full wheels in front and half wheels
in rear, order three. Otherwise order four.

•MOLDINGS

c^^>^ ^:^ ..^^ 6^

LEFT: Cross-sections of various types
of moldings

FIG. 2. Set-in type windshield and
pillar molding

FIG. 4.

PInned-through molding

Moldings around the win-
dows, or running along the
sides of your model car,
can be set in or applied, as
shown in these illustra-
tions:

Fig. 1 shows method for
setting a molding in a
groove.

Fig. 2 shows a set-in type
of windshield molding in
position to be slipped into
place.

Fig. 3 shows method of
applying molding with fine
pins or nails soldered to
the underside.

Fig. 4 shows another
method of applying mold-
ing, using tapered pins
driven through drilled
holes in molding.

• HEADLIGHTS AND TAIL LIGHTS

Round-type headlight

Round-type headlight with
hooded bezel (rim of headlight)

Cut and file
from solid
aluminum block

Clear plastic

Horizontal-type headlight

Shown on this page are
various methods of making
headlights and tail lights.
Many materials may be
used, among them bar or
sheet aluminum, as well as
aluminum tubing.

Fig. 1 (below) shows how
bar stock may be turned in
a lathe.

Fig. 2 shows how flat stock
may be utilized.

Fig. 3 shows how to shape
aluminum tubing with a
sanding block. Tubing is
slipped over a dowel placed
in an electric drill.

(Lines on headlight lens can
be scored on rear surface of
plastic.)

Red plastic

Tail light

FIG. 1

Bent, sheet
aluminum

Sanding block

Aluminum
bor stock

Drill Clear

plastic lens

FIG. 2

Flat aluminum wrapped around dowel

Method of shaping light by using
aluminum tubing for bezel

Electric motor can be clamped on bench or in a vise.

FIG. 3

• BUMPERS

Bumpers can be made from
metal, like aluminum bar
stock, or from straight-
grained hardwood. First,
draw the design of your
bumper on paper (front
view and plan view). Trans-
fer the outline to the wood
or metal. The rough shape
can then be cut out with a
saw. Next, work in all the
finer detail and finish by
carving (if wood), filing (if
metal), and sandpapering.
The drawings below show
these progressive steps. The
front views of models to the
left give you some advanced
designs of bumpers and
grilles to help start your
own ideas.

Shape an
sand smooth

Start with solid piece.
Cut and file out design.
(For metal, use ieweler's
saw or hacksaw.)

•PAINTING YOUR MODEL CAR

The most important step in putting a gleaming finish on your
model is sandpapering the bare surface. YOU CANNOT HIDE
ROUGH SPOTS, PITS OR OTHER FLAWS WITH PAINT. Fill
all low spots with a glaze, surfacing putty or plastic wood. Work over
the surface with coarse and fine grades of sandpaper until it is smooth as
glass. Only this kind of surface will take a fine finish. The first step in
painting your model is to apply two or three coats of sealer. Allow
each coat to dry over night — the last, several days. Sand last coat to a
smooth surface with 180 grit dry sandpaper. Next, apply primer-
surfacer — three coats for plaster and hardwoods, five for softer woods.
(For balsa use pyroxylin type surfacer that dries with a hard shell — at
least 10 coats). Carefully sand each coat. Next, cut in door lines, trunk
lines, etc. — or sharpen them if you made them in the surface of your
model. Use lacquer for the final finish — at least three coats. Sand
each coat, except the last, lightly but thoroughly with 360 to 400
grit waterproof sandpaper. BE SURE NOT TO SAND THE LAST
COAT. Rub down the last coat with a rubbing compound after it is
thoroughly dry — then apply hard wax and polish to a brilhant finish.

Carefully sand model hctupcn coats. Be sure Cut in door lines, trunk lines, etc., before
not to sand last coat of lacquer. applying finish coats of lacquer.

Use insect spray gun to lacquer model. Thin Rub down last lacquer coat with rubbing
lacquer until it flows freely. compound and polish with hard wax.

•SHIPPING YOUR MODEL

A substantial box, with plenty of protective padding, is needed
for shipping your model car to the Guild judging point. Such a box can
be made of 3^ in. solid boards, as shown in the drawing below, or of
}/i in. plywood, with ^/^ in. wood for the framework. Its dimensions will
be governed by the overall measurements of your car, but in any case
make the container large enough so that there will be at least one inch
around the entire model for packing material. A good-sized box, as
shown, has inside dimensions of 7 x 6 x 19 in. For packing material
you may use felt, paper, cotton batting, or old cloth, all built up to
sufficient thickness. As an added precaution, wrap the model in wax
paper to prevent the packing material from scratching or adhering to
the finish. A piece of sponge rubber or other cushioning material should
be attached to the underside of the cover at the point where it will
contact the roof. Rubber can
also be attached at either end
of the box and along the sides.
The top of the container should
be fastened with screws rather
than nails. Since the wheels
will not withstand a severe
jolt, you should keep them off
the bottom of the container by
fitting a block of wood under
the car body. If you make a
solid model, you may also drill
two holes in the bottom of it
and insert dowels, as shown.
These precautions will help
keep the model from shifting
during its journey. Do not ship
your model until you receive
special shipping instructions
from the Craftsman^s Guild.

If you desire any further advice on building your model, write to:—

TECHNICAL DEPARTMENT, FISHER BODY CRAFTSMAN'S GUILD

GENERAL MOTORS BUILDING • DETROIT 7, MICHIGAN

NATIONAL AWARD WINNERS

First Senior Award— $4,000
Bill Morgan, New Albany, Ind.

Second Senior Award — $3,000
Clare Mahannah, St. Paul, Minn.

Third Senior Award— $2,000
Chas. Burton, Arkansas City, Kans.

0 *

'^Tourth Senior Award— $1,000
Jim Powers, Lubbock, Texas

First Junior Atcard— $4,000
Gerald Grabcheski, Elizabeth, N. J.

Second Junior Award— $3,000
Bill Keyser, Perrysville, Pa.

Third Junior Award- $2,000
Bill Endow, Hood River, Ore.

Fourth Junior Award— $1,000
Bob Relyea, Delmar, N. Y.

FISHER BODY CRAFTSMAN'S GUILD

Sponsored by Fisher Body Division of General Motors

General Motors Building, Detroit 2, Michigan

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Full text of "Designing, modeling, building a model automobile"

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